The fusion of parts.
The other night I had an opportunity to see the performance of an orchestra. Nothing super fancy – a friend who is a drummer was invited to put on the cheapest possible bow tie and finally join this serious-looking musical cohort. He played on gong – what a sound that was!
Whatever they performed that night, they delivered a solid cinematic experience. Thirty or forty-something people, side by side, on cue, applying the well-calculated pressure and speed to enable their instruments to join the others in telling this perfectly crafted story. Note after note, word after, word. The narrative was evolving, the drama was intensifying, new characters were joining in, new voices were shouting from the back.
Their unity was spectacular. A perfectly balanced emotional journey. This exact pleasant sensation of harmony is what made me think of my work. What tools can I use to exercise this strive for unity? How can I create something that causes this pleasant tingly feeling, signifying that I’m looking at a perfectly told story? How to ever achieve one of those moments when we know that there’s nothing left to add, nothing left to take out, and this is the only way that idea could have ever been brought to life.
Looking back, at my study of cinema, I’ve been very intrigued by the challenge of how much the opening shot can tell us about the full story, what emotions it conveys using only the composition, or colour, or light. Finally, with SCA I got to work and think a lot about the power of a single image. Understanding and then extracting the story is an awesome exercise. Using multiple objects, for example, images, graphic elements, strapline is almost like handling different languages or instruments. In isolation, out of context, they could end up being unheard, forgotten. But harmoniously placed within the frame, speaking one to another, they can be powerful. They attract, communicate, maybe even inspire!